Eemtirantit 


1921 


CATALOGUE  OF  AN  EXHIBITION  OF 
ETCHINGS  AND  DRY-POINTS 
by 

REMBRANDT 

1606-1669 


Galleries  of 
M.  KNOEDLER  &  CO. 
556-558  Fifth  Avenue,  near  46th  St. 
Commencing  March  1st, 

1921 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogueofexhib00unse_1 


CATALO  GUE 


Letters  and  references  to  different  authorities,  viz.: 
B. — Bartsch 
M. — Middleton 
H.— Hind 

1  Rembrandt  in  a  Heavy  Fur  Cap:  Full 

Face:  Bust  B.  16,  M.  45,  H.  56.  1631 

Only  state. 

2  Rembrandt  in  a  Cap  and  Scarf:  The  Face 

Dark:  Bust  B.  17,  M.  99,  H.  108.  1633 

Second  state. 

3  Abraham  Entertaining  the  Angels 

B.  29,  M.  250,  H.  286.  1656 
Only  state. 

4  Abraham  Casting  Out  Hagar  and  Ishmael 

B.  30,  M.  204,  H.  149  1637 

Only  state. 

5  Abraham  and  Isaac 

B.  34,  M.  220,  H.  214.  1645 

Only  state. 

6  Abraham’s  Sacrifice 

B.  35,  M.  246,  H.  283.  1655 

Only  state. 


3 


7  Joseph  Telling  His  Dreams 

B.  37,  M.  205,  H.  160.  1638 

Second  state. 

8  Joseph’s  Coat  Brought  to  Jacob 

B.  38,  M.  189,  H.  104.  About  1633 
Only  state. 

9  The  Triumph  of  Mordecai 

B.  40,  M.  228,  H.  172.  About  1640 
Only  state. 

10  Christ  Between  His  Parents,  Returning 
from  the  Temple 

B.  60,  M.  244,  H.  278.  1654 

Only  state. 

11  Virgin  and  Child  in  the  Clouds 

B.  61,  M.  211,  H.  186.  1641 

Only  state. 

12  The  Holy  Family 

B.  62,  M.  182,  H.  95.  About  1632 
Only  state. 

13  The  Virgin  and  Child  With  the  Cat:  and 
Joseph  at  the  Window 

B.  63,  M.  241,  H.  275.  1654 

First  state. 

14  Christ  Preaching  (“La  Petite  Tombe”) 

B.  67,  M.  229,  H.  256.  About  1652 
Only  state. 


4 


The  title  “La  Petite  Tombe”  is  supposed 
to  have  originated  in  some  connection  with 
one  of  the  family  of  La  Tombe  who  was 
a  connoisseur  and  print  collector.  In  the 
1679  inventory  of  Clement  de  Jonghe,  the 
print  seller,  the  etching  is  called  “La 
Tombe’s  little  plate.”  Gersaint,  however, 
referred  its  origin  to  the  tomb-like  elevation 
on  which  Christ  stands. 

15  The  Tribute-Money  * 

B.  68,  M.  196,  H.  124.  About  1634 
First  state. 

16  Christ  Driving  the  Money-Changers  from 
the  Temple  B.  69,  M.  198,  H.  126.  1635 

First  state. 

17  Christ  and  the  Woman  of  Samaria 

B.  70,  M.  253,  H.  294.  1658 

Third  state. 

18  The  Agony  in  the  Garden 

B.  75,  M.  251,  H.  293.  About  1657 
Only  state. 

19  Christ  Presented  to  the  People 

B.  76,  M.  248,  H.  271.  1655 

Fourth  state. 

Before  the  removal  of  the  figures  in  the 
foreground.  Extremely  fine  and  rare  print 
on  Japan  paper.  This  is  one  of  the  finest 


5 


and  most  important  plates  of  Rembrandt, 
and  it  is  seldom  found  printed  on  a  single 
sheet  of  paper  as  is  this  impression. 

20  Christ  Before  Pieate 

B.  77,  M.  200,  H.  143.  1636 

Second  state. 

21  The  Entombment 

B.  86,  M.  233,  H.  281.  About  1654 
Second  state. 

*  22  The  Death  of  the  Virgin 

B.  99,  M.  207,  H.  161.  1639 

Second  state. 

The  title  of  this  plate  has  frequently  been 
criticised  because  of  the  presence  of  the 
High  Priest  in  the  picture,  and  the  fact 
that  the  figure  upon  the  bed  appears  to  be 
of  a  man  rather  than  of  a  woman. 

It  is  of  interest  to  note  that  various  studies 
of  Saskia  ill  in  bed  were  etched  by  Rem¬ 
brandt  during  the  same  period  to  which  this 
subject  belongs. 

23  St.  Jerome  Beside  a  Pollard  Willow 

B.  103,  M.  223,  H.  232.  1648 

Second  state. 


24  St.  Jerome  Reading,  in  an  Italian  Land¬ 
scape  B.  104,  M.  234,  H.  267.  About  1653 
Second  state. 


6 


25  St.  Francis  Beneath  a  Tree,  Praying 

B.  107,  M.  252,  H.  292.  1657 

Second  state. 

Only  three  impressions  of  the  first  state 
are  known  to  exist  one  in  the  British  Mu- 
seuip,  another  in  Paris,  and  the  third  in 
Amsterdam. 

26  Death  Appearing  to  a  Wedded  Couple 
from  an  Open  Grave 

B.  109,  M.  265,  H.  165.  1639 

Only  state. 

Because  of  the  resemblance  of  the  two 
figures  in  this  print  to  Rembrandt  and  his 
wife,  it  has  been  suggested  that  this  sub¬ 
ject  might  be  a  memorial  of  an  unexpected 
sorrow,  the  death  in  the  autumn  of  the 
previous  year  of  Saskia’s  second  child. 

27  Medea:  or  the  Marriage  of  Jason  and 

Creusa  B.  112,  M.  286,  H.  235.  1648 

Fourth  state. 

The  plate  was  designed  to  illustrate  a 
tragedy  of  Medea,  written  by  Rembrandt’s 
friend  Jan  Six,  and  published  in  Amster¬ 
dam,  1648. 

28  The  Small  Lion  Hunt  (With  Two  Lions) 

B.  115,  M.  273,  H.  180.  About  1641 

Second  state. 


7 


29  The  Small  Lion  Hunt  (With  One  Lion) 

B.  116,  M.  274,  H.  6.  About  1629-30 
Only  state. 

30  A  Cavalry  Fight 

B.  117,  M.  275,  H.  100.  About  1632-3 
Second  state. 

31  The  Spanish  Gipsy  (Preciosa) 

B.  120,  M.  285,  H.  184.  About  1641 
Only  state. 

This  subject  is  believed  to  be  from  a 
tragedy  printed  in  Amsterdam,  and  founded 
on  a  Spanish  tale,  “The  Preciosa  of  Cer¬ 
vantes.” 

32  The  Rat-Killer 

B.  121,  M.  261,  H.  97.  1632 

Second  state. 

33  The  Goldsmith 

B.  123,  M.  295,  H.  285.  1655 

Only  state. 

34  The  Pancake  Woman 

B.  124,  M.  264,  H.  141.  1635 

Second  state. 

35  The  Card  Player 

B.  136,  M.  269,  H.  190.  1641 

First  state. 


8 


36  Man  Standing  in  Oriental  Costume  and 
Plumed  Fur  Cap 

B.  152,  M.  91,  H.  93.  1632 

Only  state. 

This  subject  is  also  known  as  “The  Per¬ 
sian.” 

37  The  Shell  B.  159,  M.  290,  H.  248.  1650 

Second  state. 

38  Seated  Beggar  and  His  Dog 

B.  175,  M.  65,  H.  75.  1631 

Second  state. 

39  Beggars  Receiving  Alms  at  the  Door  of  a 

House  B.  176,  M.  287,  H.  233.  1648 

Second  state. 

40  Beggar  With  a  Wooden  Leg 

B.  179,  M.  35,  H.  11.  About  1630 
First  state. 

41  Woman  Bathing  Her  Feet  at  a  Brook 

B.  200,  M.  297,  H.  298  1658 

Only  state. 

42  Jupiter  and  Antiope:  The  larger  plate. 

B.  203,  M.  301,  H.  302.  1659 

First  state. 

43  Six’s  Bridge 

B.  208,  M.  313,  H.  209.  1645 

Second  state. 


9 


There  is  a  tradition  that  this  plate  was 
etched  against  time  for  a  wager  at  the  coun¬ 
try  house  of  Rembrandt’s  friend  Jan  Six, 
while  the  servant  had  gone  to  a  neighboring 
village  to  fetch  some  mustard  which  had 
been  forgotten  for  the  meal. 

44  The  Omval  B.  209,  M.  311,  H.  210.  1645 

Second  state. 

“De  Omval”  is  generally  regarded  by  the 
natives  as  signifying  the  bend  in  the  Am- 
stel,  just  outside  Amsterdam,  rather  than 
the  village  at  this  spot. 

45  View  op  Amsterdam 

B.  210,  M.  304,  H  176.  About  1640 

Second  state. 

This  view  was  probably  taken  from  the 
banks  of  the  Y,  to  the  northwest  of  Amster¬ 
dam.  The  tower  towards  the  right  is  be¬ 
lieved  to  be  the  old  Stadhuis. 

16  The  Three  Trees 

B.  212,  M.  309,  H.  205.  1643 

Only  state. 

Little  need  be  said  regarding  this  subject, 
which  is  undoubtedly  one  of  the  master¬ 
pieces  in  etching. 

The  city  of  Amsterdam  is  seen  beyond 
the  flat  lands. 


10 


47  Landscape  with  Three  Gabled  Cottages 
Beside  a  Road 

B.  217,  M.  325,  H.  246.  1650 

Third  state. 

48  Landscape  with  a  Suuare  Tower 

B.  218,  M.  321,  H.  245.  1650 

Fourth  state. 

49  Cottage  and  Farm  Buildings  with  a  Man 
Sketching 

B.  219,  M.  315,  H.  213.  About  1645 
Only  state. 

50  Landscape  with  Trees,  Farm  Buildings  and 
a  Tower 

B.  223,  M.  317,  H.  244.  About  1650 
Fourth  state. 

It  is  believed  that  this  print  represents 
a  view  of  the  village  of  Loenen.  In  the 
neighborhood  were  the  homes  of  Wtten- 
hoogaert  “The  Goldweigher,”  Hooft  Van 
Tromp,  Hindloopen  and  Jan  Six. 

51  The  Goldweigher’s  Field 

B.  234,  M.  326,  H.  249.  1651 

Only  state. 

The  country  house  of  the  Receiver  Gen¬ 
eral  Wttenboogaert,  and  the  view  seems  to 
have  been  taken  from  this  house,  showing 
the  village  of  Naarden  among  the  trees  in 
the  middle  distance. 


11 


52  Canal  with  an  Angler  and  Two  Swans 

B.  235,  M.  322,  H.  238.  1650 

Second  state. 

53  Canal  with  a  Large  Boat  and  Bridge 

B.  236,  M.  323,  H.  239.  .1650 
Second  state. 

54  Landscape  with  a  Cow  Drinking 

B.  237,  M.  318,  H.  240.  About  1650 
Second  state. 

55  Man  with  Crucifix  and  Chain 

B.  261,  M.  147,  H.  189.  1641 

Second  state. 

56  Faust  in  His  Study,  Watching  a  Magic 
Disk  (Dr.  Faustus) 

B.  270,  M.  291,  H.  260.  About  1652 
First  state. 

57  Jan  Lutma,  the  Elder,  Goldsmith  and 

Sculptor  B.  276,  M.  171,  H.  290.  1656 

Third  state. 

Jan  Lutma  was  bom  at  Groningen,  1584. 
He  was  not  only  a  fine  sculptor  and  gold¬ 
smith,  but  was  an  amateur  collector  of 
prints  and  other  objects  of  art. 

58  Jan  Cornelis  Sylvius,  Preacher:  Posthu¬ 
mous  Portrait 

B.  280,  M.  155,  H.  225.  1646 

Second  state. 


12 


Jan  Cornells  Sylvius  died  in  1638.  Fol¬ 
lowing  is  a  translation  of  the  Latin  inscrip¬ 
tion  in  the  lower  margin: 

“This  was  the  face  of  Sylvius,  whose  elo¬ 
quence  taught  that  Christ  should  be  adored 
and  showed  to  men  the  true  path  to  Heaven. 
With  these  lips  we  heard  him  speak  to  the 
people  of  Amsterdam,  with  these  he  preached 
to  the  Frisians.  Piety  and  religion  were 
long  safe  in  the  keeping  of  an  unyielding 
champion.  Brightly  shone  the  light  of  his 
life,  revered  for  its  virtues,  and  even  in  the 
infirmities  of  age  he  taught  strong  men.  A 
lover  of  sincerity,  he  disdained  all  mere  pre¬ 
tense  of  right  nor  cared  by  a  fair  front 
alone  to  please  the  good.  This  was  his  belief, 
that  Jesus  could  be  better  preached  by  a 
nobler  life,  less  well  by  thunders  of  elo¬ 
quence.  Amsterdam,  cherish  the  memory  of 
him  who  by  his  character  set  the  standard 
for  the  city’s  life  and  maintained  it  by 
help  of  God  Himself.” — G.  Barlaeus. 

“No  further  do  I  praise  his  merits  which 
I  fain  would  imitate,  but  seek  to  present  in 
verse.” — P.  S. 

59  Lieven  Wieeemsz  Van  Coppenol,  Writing- 
Master:  The  smaller  plate. 

B.  282,  M.  162,  H.  269.  About  1653 

Sixth  state. 

The  boy  in  this  etching  is  believed  to  be 
Coppenol’s  grandson. 

13 


60  Lieven  Willemsz  Van  Coppenol,  Writing- 
Master  :  The  larger  plate. 

B.  283,  M.  174,  H.  300.  1658 

Fifth  state. 

Coppenol  was  born  in  1598.  He  gained 
renown  as  a  writing-master  in  Amsterdam. 

The  date  of  his  death  is  not  recorded; 
it  was  some  time  after  1667. 

61  Bust  of  An  Old  Man  with  Flowing  Beard 

B.  309,  M.  31,  H.  28.  1630 

First  state. 

62  The  Great  Jewish  Bride 

B.  340,  M.  108,  H.  127.  1634-5 

Fourth  state. 

The  title  of  this  print  is  derived  from  a 
tradition  that  the  sitter  was  the  daughter 
of  Ephraim  Bonus,  the  Jewish  Physician, 
although  most  authorities  believe  it  to  be  a 
study  of  Rembrandt’s  first  wife,  Saskia. 

63  Rembrandt’s  Mother  with  Hand  on  Chest: 

Small  Bust.  B.  349,  M.  53,  H.  50.  1631 

Second  state. 

Probably  the  most  remarkable  feature  of 
this  print  is  the  drawing  of  the  hand,  so 
expressive  of  old  age.  Rembrandt’s  mother 
died  in  1640 ;  she  was  about  sixty-five  years 
of  age  at  the  time  this  plate  was  etched. 


14 


64  Old  Woman  Sleeping. 

B.  350,  M.  116,  H.  129.  1635-7 

Only  state. 

65  Studies  of  the  Heads  of  Saskia  and  Others 

B.  365,  M.  129,  H.  145.  1636 

Only  state. 


66  Three  Heads  of  Women,  One  Lightly 
Etched 

B.  367,  M.  115,  H.  153.  About  1637 
Second  state. 

The  central  figure  is  a  study  of  Saskia. 


15 


^Arranged  C®.  Printed  by~ 

Lewis  W.  Goerck 

925  Sixth  tAve.,  N.  Y.  CitY" 


PRINT  ROOMS 
ON 

SECOND  FLOOR 


